A Quote by Katherine Waterston
You kind of wake up in the morning, and you don't see anybody but these actors until you go home at night and pass out and do it again. So it's structured a lot like the process when you're making a film. You just kind of get in that tunnel vision. I like that. I like when the rest of the world kind of quiets.
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Anybody doesn't like these pitchers don't like potry, see? Anybody don't like potry go home see television shots of big hatted cowboys being tolerated by kind horses. Robert Frank, Swiss, unobtrusive, nice, with that little camera that he raises and snaps with one hand he sucked a sad poem right out of America onto film, taking rank among the poets of the world. To Robert Frank I now give this message: You got eyes.
When you - when someone dies in your family and you think you're over it, and then you wake up in the morning and it hits you, 'I won't ever see my brother again. I won't ever see my mom again.' And it just kind of hits you like that.
I might even go for walks, just kind of come up with ideas in my head and then even sleep over it. And, yeah, the next day, when I wake up in the morning, I feel like that's when the ideas come, because you kind of wake up fresh and clean. You're not influenced from music on the radio or any other source.
It was kind of like an agreement, I guess you can say. It was like, 'Hey, bro, you want to be on Team USA?' And I was like, 'Yeah.' Who would say no to that? It was kind of like, 'Dang, I really get to play for my country. I get to represent and just go out there and have fun.'
I've worked with actors before where I was like, this is not working, and then I've seen their work on the screen and I've been like, Wow, that was a really great performance. Because there are a lot of elements with film. It's not like stage. It's not a kind of performance art anymore; it's a highly tuned kind of collaboration - a symphony.
Don't you guys, like when you're driving at night and you're like, and you can kind of see through the window and you think, oh that looks so cozy in there. I wish I could like get a free pass. Yeah, so that's probably the one I'd pick. I'd be a total creeper but.
Good Lord's been kind to me, that's all I can say. I wake up in the morning with music in my head a lot of times. I won't say every morning, but I wake up in the morning sometimes with eight bars in my head and I just go to the piano.
The good reviews that people have told me about through the years haven't really helped me do my job. So it's kind of like, if your hair turns out right you want to go out, you don't just want to stay in and look in the mirror. That's kind of what reading a review is like to me; it's like reveling in something that's just one night.
It might sound naive, but for me, you know, for me, the important part is kind of making process. So I'm not super result oriented, and I just, like, kind of getting lost in the process of making something.
Getting into a space suit and going outside, to me, getting your peripheral vision involved and looking at the Earth was a whole different experience than looking through the window. And it's kind of the same on earth. If you're driving in a car and you see like a beautiful sunset or landscape, it looks so much better if you stop and get out and kind of take it all in and that's kind of what it's like doing a spacewalk.
That's the process of making the film and it isn't until the world puts their eyes to it that you find out if it's creating any kind of connection at all. But every single film at some stage of the film I think, "I wonder what this is going to be?"
A lot of people have a hard time living out of a suitcase, being on the road constantly in different cities. For us it's just kind of what we do. You do get homesick. I miss my wife, I miss my home, I miss my dogs, I miss my kitchen, which is something I like to do outside of this is cook. You miss the simple things. But when you look at the big picture we get to see a crazy amount of cities and the people we get to meet, all over the world it kind of makes up for it. It makes you realize how lucky you are because it could be gone tomorrow you just never know.
I love seeing original cartoons. You get to see the artist's corrections, like erasures or Wite-Out or patches, and you get to see the artist's line in better detail, and what kind of ink they use - whether they like a cold black or a warm black, and what kind of paper they like, how big or small they like to draw - art nerd stuff like that.
When you go through a tunnel - you're going on a train - you go through a tunnel, the tunnel is dark, but you're still going forward. Just remember that. But if you're not going to get up on stage for one night because you're discouraged or something, then the train is going to stop. Everytime you get up on stage, if it's a long tunnel, it's going to take a lot of times of going on stage before things get bright again. You keep going on stage, you go forward. EVERY night you go on stage.
TV kind of worked out naturally for me. I was fortunate to do a show like 'Breaking Bad' and then go straight into something like 'Friday Night Lights.' It's not something I focus on, but when they're great projects, I can't pass them up.
I've said this a lot lately, too: if, 20 or 30 years down the road, when everything's said and done, I was never able to achieve that level of zeitgeist again, then so be it. I know how rare it is for anybody to do that. But I also feel like, OK, we're getting on to 25 years of putting out records: that's also kind of rare air for anybody who makes music. And I think you just end up kind of grateful for every opportunity that comes along.
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